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新媒介样态塑造了碎片化的生活,大众文化吹响了“娱乐至死”的号角。冲击之下,曾经以醇厚的艺术魅力与真实的社会关切而备受推崇的纪录片逐渐失掉了往日的尊严。电视一直是国产纪录片接触公众的主渠道。然而《舌尖上的中国》导演陈晓卿却认为,电视并非纪录片成长的温室:“因为电视台的环境特别恶劣,它需要一个叫‘收视率’的东西。”即便“舌尖现象”暂时创造了振奋人心的收视纪录,喧嚣过后,后继乏力的纪录片市场再没能带来新的惊喜。
The new media style shaped the fragmented life, and popular culture sounded the horn of “entertainment to death”. Under the attack, the documentary, once highly respected by mellow artistic charm and real social concern, gradually lost its dignity of the past. Television has always been the main channel for domestic documentary exposure to the public. However, “China on the tongue” director Chen Xiaoqing believes that television is not a greenhouse for documentary growth: “Because the environment of the television station is particularly poor, it needs something called ’ratings.’” Even if the “tongue phenomenon” is temporarily created Exciting ratings record, the hustle and bustle, the successor to the documentary market failed to bring new surprises.